Maria Ouspenskaya: the American Laboratory Theatre and the surviving evidence of her teaching.

Herbert Berghof: HB Studio and continuing artistic practice between performances.

William Esper: sustained Meisner-based training and the preparation for spontaneous response.

Larry Moss: specific preparation and the actor’s work on a role.

Susan Batson: character, need and the approach described in Truth.

Keith Johnstone: improvisation, offers and the performer’s relationship with a partner.

Paul Sills: Viola Spolin’s theater games, ensemble improvisation and Story Theater.

Richard Armstrong: vocal exploration, imagination and theatrical creation.

Jonathan Hart Makwaia: extended voice, music and the sound of theatrical invention.

Alfred Wolfsohn: vocal research beyond conventional voice categories.

Roy Hart: the connection between vocal expression and an ensemble’s theatrical work.

Arthur Lessac: voice, speech and movement in Kinesensics.

Catherine Fitzmaurice: vocal freedom and expressive direction in Fitzmaurice Voicework.

Tadashi Suzuki: physical presence and the actor’s dramatic purpose.

Joseph Chaikin: ensemble investigation and the making of playable material.

Rudolf Laban: movement qualities and their use in performance.

Moshe Feldenkrais: learning through small differences in movement.

François Delsarte: gesture, expression and the interpretation of physical signs.

Constant Coquelin: the imagined role and its precise form in performance.

Mikhail Shchepkin: observation, human behavior and the life of a character.